DETAILED SYNOPSIS

The most beautiful opera buffa in existence - Giuseppi Verdi

The opera takes place in Seville, Spain during the eighteenth century.

BACKGROUND: While walking one day on the Prado in Madrid, Count Almaviva, a young Spanish nobleman, has seen a beautiful young girl, Rosina, accompanied by her guardian (and would-be husband) Doctor Bartolo. Having fallen in love with Rosina at first sight, the Count has followed them to Seville.

The overture tells us that the opera to follow will be funny and enjoyable.

ACT I, Scene 1: The plaza in front of Dr. Bartolo's house, just before dawn
The Count's servant, Fiorello, leads in a group of musicians, urging them to be quiet (Piano, pianissimo — Quiet, very, very quiet). In turn, the Count arrives to serenade Rosina (Lo, bright in the sky). When dawn approaches, and she has not appeared, he gives Fiorello money to pay the musicians. The servant is so generous with his master's coins that their noisy gratitude threatens to awaken the sleeping neighbors. The barber, Figaro, appears and sings his famous cavatina, Largo al factotum, (Make way for the factotum), in which he describes his busy life, not only as a barber, but also as a matchmaker and general supplier of any services which will earn him what he desires most — money!

The Count emerges from hiding and, recognizing Figaro as his former servant, realizes that the barber may be of help to him in his courtship. In a long section of recitative, he warns Figaro that he must remain incognito. When told of the Count's hopes regarding Rosina, Figaro remarks that everything is coming together like "cheese falling on macaroni"; as Bartolo's barber, he has access to the house at any time.

Rosina appears on the balcony with a letter in her hand in which she acknowledges that her admirer's love is returned. When Bartolo appears and demands to know what she is holding, she responds that it is a aria she is learning from an opera, The Useless Precaution. To hide the letter from him, she drops it to the street below. Bartolo exclaims, "An opera! It is probably one of those long, depressing, boring songs". Rosina asks her guardian to fetch the letter, then hastily signals the Count to pick it up. When Bartolo emerges and fails to find the 'aria', she tells him the wind blew it away. Suspicious, the doctor orders Rosina back into the house, resolving to marry her himself as soon as possible. After giving orders that only Don Basilio, Rosina's music teacher is to be admitted to the house, he leaves to make the necessary arrangements for a wedding.

Figaro reads her letter aloud and Almaviva resolves that Rosina will be his. The barber urges the Count to serenade her once more and lends him his guitar He sings that he is a poor student named Lindoro, who longs to marry her. (If you are longing to know my name). Rosina starts to respond but is suddenly interrupted by someone in the house. After she disappears, the thought of the money he will make by helping the Count inspires Figaro (At the thought of that money). They decide that Almaviva shall disguise himself as a soldier in a regiment arriving that day in Seville and present fake orders to be quartered in Bartolo's house. To be even more effective, he should pretend to be drunk. Together they congratulate themselves on such a wonderful plan and, after Figaro gives directions to his house, they leave to put things in motion (Number fifteen).

ACT I, Scene 2: Dr. Bartolo's house, a few minutes later.
As Rosina sits with a letter she has just written to 'Lindoro' in which she vows she will marry only him, she thinks about how she will outwit her guardian (A voice, a little while ago). She is usually docile and obedient, she explains, but — if she is crossed, she can become a viper and play a hundred tricks. Figaro enters and greets her, but he hides when he hears Bartolo approaching. Basilio arrives and he announces that he has seen Count Almaviva, and suspects that he is the one who is courting Rosina. He suggests a way to drive the new suitor out of town; a scandal can be started with a whisper almost too faint to be heard. It will grow and grow until, with a mighty crescendo, it roars like a cannon (The scandal ). The two leave to draw up the marriage contract for Bartolo and Rosina.

Figaro, who has overheard their planning, tells Rosina that 'Lindoro' is his own cousin, that he is very smart and will make a fortune, and that he is very much in love with someone named R-O-S-I-N-A. Rosina is ecstatic (Then it is me!). Figaro suggests she send him another letter and, to his astonishment and admiration, she produced the one she has just written. Bartolo returns and suspiciously asks what Figaro is doing there. He notices that a sheet of writing paper is missing and that Rosina has ink on her finger. She quickly responds that she put the ink on a burn and used the paper to wrap a present for Figaro's daughter. In an aria with a spectacular patter ending, he warns her not to trick him, or he will lock her up. (To a doctor like me).

ACT I Finale
Berta, Bartolo's maid, answers a knock to find a 'drunken' soldier (the Count in disguise) on the doorstep (Hey, in the house!). He pretends to get Bartolo's name wrong, calling him in turn Dr. Balordo, Bertoldo and Barbaro, embraces him as a colleague, and shows him his fake billeting papers. As the upset Bartolo reads the letter, Rosina appears, and the Count whispers to her that he is Lindoro in disguise and shows her a letter. Bartolo triumphantly produces a real order, exempting him from having soldiers in his house, but Almaviva ignores him, calling him 'Dr. Donkey'. He distracts the doctor, drops his letter and Rosina throws her handkerchief over it. 'Lindoro' pretending he has just seen the letter, picks it up, identifies it as Rosina's, and 'returns' both the letter and the handkerchief. She quickly switches the letter with another piece of paper and, when Bartolo demands to see it, produces a laundry list! As an embarrassed Bartolo apologizes, Rosina pretends to cry, and Almaviva calls him an "ugly monkey". The Count draws his sword and, as pandemonium breaks out, Figaro enters, exclaiming that the noise can be heard in the street; half the city is listening. Soon a violent knocking at the door announces the arrival of the guard. When they try to arrest Almaviva, he quietly tells the sergeant who he is and, to the astonishment of all, they release him (Frozen and immobile). In a lively ensemble all sing that they are going mad.

ACT II: Bartolo's house, the next day
Alone, Bartolo voices his suspicion that the 'soldier' has been sent by Almaviva to spy on him. A knock at the door introduces the Count, this time disguised as a singing teacher, who is there to give Rosina her lesson in place of an 'ill' Don Basilio. In an oily, unctuous monotone, he greets the doctor (Peace, joy). The mindless repetition finally causes Bartolo to cry "Basta" (enough). Almaviva introduces himself as 'Don Alonso' and tells the doctor that, when he called on the Count that morning, Almaviva was not home. However, 'Alonso' found Rosina's letter in his rooms. He gives it to Bartolo, suggesting he tell his ward that Basilio had gotten it from another girl of the Count's to whom it had been given as a joke. The delighted guardian leaves to call Rosina, and 'Alonso' promises himself he will warn Rosina of his deception and reveal his true identity before Bartolo can show her the letter. The music lesson begins with the aria from The Useless Precaution but, as Bartolo dozes, Rosina substitutes her own words in the song asking 'Lindoro' to save her from her guardian. Bartolo awakens, complaining about modern music; things were much better in his day. He demonstrates by substituting Rosina's name for the name in the song (When you are near me). He is interrupted by Figaro who has come to shave him (and help with the deception). The doctor tries to put him off, but the barber is insistent: he will be too busy later. Finally Bartolo gives in and gives Figaro his keys to fetch the shaving equipment. The barber pockets the key to the balcony and deliberately breaks some dishes offstage. While Bartolo rushes to investigate the noise, Rosina agrees to marry her 'Lindoro'.

The shave begins but is interrupted by the sudden arrival of the 'sick' Basilio, who is astonished when all ask after his health. In a quintet they convince him that he has scarlet fever (You are yellow, like a corpse) and, when Almaviva slips him some money, he gets the idea and leaves (Buona sera — Good evening). The shave continues to distract Bartolo while the lovers plot their escape but, just as Almaviva starts to reveal his identity and tell Rosina why he gave her guardian the letter, the doctor again becomes suspicious and orders 'Alonso' and Figaro to leave. He tells Berta to guard the door. Alone, the she sings of the confusion in the household and of Bartolo's quest for a wife (The old man looks for a wife).

Basilio returns, and Bartolo learns that 'Don Alonso' was a fake. He sends Basilio to get a notary, then calls Rosina and shows her the letter 'Alonso' had given him. He suggests that Alonso and Figaro are plotting to get Rosina for Count Almaviva. Angry and upset, she agrees to marry Bartolo.

During a thunderstorm, Figaro and Almaviva appear carrying a ladder which they use to climb to the balcony. They are met by an angry Rosina, who accuses them of trying to sell her to the vile Count Almaviva. However, anger turns to joy when 'Lindoro' tells her who he really is and, as the happy lovers embrace, Figaro compliments himself on his successful schemes (Ah, what an unexpected stroke). Two men are heard approaching, and all try to leave. (Zitti, zitti, piano, piano—Quickly, quickly, quiet, quiet). However, Bartolo has removed the ladder. At first they panic, but then recognize the two men as Basilio and the notary. Figaro convinces the notary that Almaviva and Rosina are the couple to be married, and 'persuades' Basilio to act as a witness by threatening to put two holes in his head with a pistol. Just as the contract is signed, Bartolo returns with the guard. Almaviva identifies himself to the doctor and tells him he can keep Rosina's dowry. Although happy about the money, the chagrined doctor realizes that, by removing the ladder, he has unwittingly allowed the young couple to marry. Figaro tells him that his action was a 'Useless Precaution', and all rejoice at the happy outcome (Eternal love and joy).

The original version of this article was written for San Diego Opera.

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Revised July 2010
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